PS 3503 
.R53 B4 
1917 
Copy 1 



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Behind the Scenes 



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Behind the Scenes 

A Comedy in Two Acts 

For Female Characters Only 



By 

GLADYS RUTH BRIDGHAM 

It 

Author of ''Leave it to Polly,'' ''A Regular Scream;' ''Not 
on the Programme;' "A Modern Cinderella;^ "On the 
Quiet;' "A Regular Rah I Rah! Boy;' "Sally 
Lunn;' "Six Times Nine;' "Cupid's Partner;' 
"Her First Assignment;' "A Case for Sher- 
lock Holmes;' " Ring- Around-a-Rosie;' 
"Three of a Kind;' "The Turn 
in the Road;' "The Queen 
of Hearts;' etc. 



BOSTON 

WALTER K. BAKER h CO. 

• 1917 



^i 






Behind the Scenes 



CHARACTERS 

Beryl Kennison 

Nancy Harraden 

Phyllis Moore J- Seniors. 

Virginia Calhoun 

Lucille Vernon 

Miranda Simpson, a sophomore. 

AlELEEN AlDRICH ] ^ , 

Daisy Kennison | Freshmen. 
Barbara Gray, an instructor. 
RosiE McNiEL, the lau7idress child. 
Mrs. Sherwood. 
Miss Darley. 

SYNOPSIS 

Act I. — Study of the Ethan Allen Club—Sherwood School for 
girls. Afternoon. 

Act II. — The same — evening of the same day. 

Time. — The Present. 

Note 

The seniors and Miranda should be represented as about seven- 
teen and eighteen; Daisy and Aieleen thirteen and fourteen; 
Rosie, aged nine, is blind ; Miss Gray is twenty-five, Miss Darley, 
thirty-five, and Mrs. Sherwood, middle aged. 

All wear school dresses for Act I, and evening dresses and fancy 
costumes for Act II. 




Copyright, 191 7, by Gladys Ruth Bridgham 
As author and proprietor 

All rights reserved 

©CI.D 4 6235 # . -- 

FEB 24 1917 '' • 



"l^ ( 



Behind the Scenes 



ACT I 

SCENE. — Study of the Ethan Allen Club; exits r. and h. ] 
luindow C. ; fireplace L. Picture over ftiantel concealing a 
cupboard ifi the wall; tea table; study table; a piano if 
possible. Furnis/iitigs i?i Colofiial style sliould be used if 
convefiient. 

(As curtain rises Nancy Harraden sits by study table r. f. ; 
Virginia Calhoun and Phyllis Moore are hangmg out 
window sJiouting and waving their hands.) 

Phyl. Oh, you lucky juniors ! 

Vir. I wish we were going ! What ? Oh, we couldn't 

possibly. We have all our studying 

Phyl. And loads of things to do for to-night. Good-bye ! 

{They turn from th'e windoia and ivalk toward table.') 

Nan. Do shut the door, Phyl, before you sit down. We 
shall never get through at this rate. Every one we ever knew 
or ever thought of knowing has called within the last hour. 

Vir. (sitting by table and taking up a book). Yes, awful, 
isn't it? Put an engaged sign on the door, Phyllis. 

Nan. It might do some good. It will keep outsiders from 
coming in. 

Phyl. Well, I want the largest piece of paper I can find. 
Where, oh, where ? Here, let me have a piece of that ! (Takes 
apiece of paper from the table upsetting Nan.'s books and 
papers.) Now, then! (Writes.) '* E-n-g-a-g-e-d ! " Ex- 
clamation ! Underlined ! (Runs her hand over her luaist.) 
I thought I had a pin ! (Looks around the room and goes to 
tnantel.) Oh, of course there wouldn't by any chance be a pin 
in this den of intellectuality. (Knocks a picture from the 
mantel.) Oh, pardon me, Dr. Eldridge. (Picks up the pic- 



4 BEHIND THE SCENES 

iure and replaces it. Stands booking at it for a second.') 
Girls, isn't the doctor the classiest looking man? 

ViR. He certainly is ! 

Phyl. Say, Jinny, I'm going over to your room for a pin. 

Viu, You will have your labor for your pains. Hilda Cook 
had a squelch party last night and she borrowed everyihing in 
my room but a hot water bottle and a bunch of toothpicks. 
Here's a pin ! 

Phyl. {taking it). Thanks, fair creature. 'How (^pinfiing 
sign to the door), to all whom it may concern — we are engaged ! 
(S/anis the door and goes to table.) Jinny, what's a squelch 
party .? Really now, that sounds hopeful ! 

Nan. {grabbing Phyl. by the shoulders and pushing her 
into a chair). Phyllis Moore, you and I will have a little 
squelch party of our own right now if you don't keep still for at 
least ten minutes. Sit down and see if you can improve your 
mind. 

Phyl. Improve my mind ? It's hardly worth while to try. 
I don't seem to have enough to improve. 

Nan. Virginia, can you imagine what 1 could have meant 
by "six mutton chops well peppered"? What does it re- 
fer to ? 

Phyl. {langhing). Sounds like a hot lunch. 

ViR. It would be more to the point if I could tell you what 
my own notes mean. I can't read them to save my life. 
Here's a quotation ! Just listen ! All I can make of it is : 

'' Louisa, in bed though it's morning. 
Is snoring like the deuce." 

Phyl. Did Shelley write that? Really now, I never sup- 
posed he was equal to anything so classy. 

Nan. Don't use slang. Shows a limited intellect and small 
vocabulary, 

Phyl. That's me ! Here's your quotation. Jinny : 

" Lo, where red morning through the wood 
Is burning o'er the dew." 

ViR. That's right ! So it is ! By the way, Nancy, how 
about that wonderful friend of yours who was going to help 
some of us in Political Economy? 

Nan. Miss Simpson ? She will be over this afternoon, I 
think. 

Vu^, Imagine any girl being able to tutor in Polly Con. I 



BEHIND THE SCENES 5 

should think the heat from some of the arguments would make 
her brain sizzle. 

Nan. She is a wonder. 

(Lucille Vernon knocks on the door, l., and stops by the 
door looking at the sign.) 

Luc. Engaged ! Just look at that ! Well, if I couldn't 
find a more modest way of announcing it. May I come in and 
offer my congratulations ? 

ViR. Considering that you have as much right here as we, 
1 suppose you may. 

Phyl. You'll have to sit down and fold your hands. We 
are endeavoring to grasp a few facts in regard to the poetical 
efforts of our dear friend Percy Shelley. 

Nan. Oh, it's no use. We are doomed ! I wish there was 
a cloister in Sherwood. I would seek it when 1 wanted to 
study. 

Enter Daisy Kennison and Aieleen Aldkich, l. 

Dai. Hello, girls ! 

All (ziJith a resigned air). Hello! 

Luc. And who is this little one thou bringest with thee ? 

Dai. Oh, haven't you met Aieleen? Miss Aldrich, Miss 
Vernon. Aieleen is my roommate. Shall we bother you, 
Nancy ? 

Nan. Oh, no, nothing ever disturbs us. 

AiE. Gracious ! I should think you would be so excited 
about to-night ! 

Luc. Dear child, by the time you have started on your 
fourth year here it will take something more than a party to ex- 
cite you. 

Phyl. That's right. We have certainly entertained until 
the novelty has somewhat worn off. 

Nan. Yes, if this wasn't for Student's Aid, I should have 
absolutely no patience with it. 

ViR. There isn't a girl in this club who isn't doing about 
three times the amount of outside work that she ought to do. 

Dai. Well, if you aren't the most doleful crowd. 

Beryl Kennison {outside). Where, oh, where are the 
grave old seniors ? 

Aie. {starting toward the door). They won't be doleful 
any longer. 

Ber. Here's your fresh roasted peanuts, five a bag ! 



6 BEHIND THE SCENES 

[Enters L. and riius into Aie.) * Dear child, haven't you been 
told that you shouldn't stand in the middle of the gangplank? 
(^Hiigs Dai.) Daisy, darling, did you come up to see big 
sister? 

Phyl. Where are your books, Beryl ? 

Bek. Don't ask such embarrassing questions. 

ViR. Didn't you look up those references? 

Ber. Why, yes, I went over to the library the very first 
thing after lunch, but you don't need a note-book. So easy, 
you just couldn't help remembering them. 

Luc. 1 wish 1 might be affected the same way. 

Bek. Then, I went over to. the gym and vi^alched the soph- 
omore basket-ball, and then 1 went down-town and, girls, do 
draw around this festive basket {^pulling waste basket to the 
middle of fioor) and have some peanuts ! (^Displays a bag.") 

All (sitting on tJie floor arozmd the basket ). Oh-o-o-o ! 
Joy ! Hot ! 

Ber. Great, aren't they? And now I have a piece of news 
for you. Mary Austin is in the hospital ! 

Girls. What? 

ViR. Why, she can't be ! 

Phyl. Of course not ! She was in the class this morning. 
What's the joke, Beryl ? 

Ber. It's no joke, girls. She hasn't been feeling well for 
two or three days and she wouldn't give in on account of to- 
night. Just before lunch she had to admit that she was sick 
and Dr. Eldridge thinks she is going to have some kind of a 
fever. 

Nan. Horrors ! I hope it isn't a contagious one. 

ViR. Who on earth will be Molly Pitcher to-night? 

Phyl. Doesn't it beat all? She is the fifth girl who has 
had the part and had to give it up ! 

Dai. Oh, Beryl, couldn't I take the part ? No one would 
ever know me. 

Ber. Well, hardly. I guess you will stay right in the 
Freshman House where you belong. 

Dai. I don't care I It's too mean for anything the way the 
freshmen are treated. 

Aie. Utterly horrid ! Just think ! We can't leave our 
building after eight in the evening excepting one night in the 
month. Perfectly disgusting ! 

Phyl. We all lived through it. I guess you girls will 
manage to, 



BEHIND THE SCENES 7 

ViR. Daisy, you are lucky to have a senior sister. You 
wouldn't be coining over here in the daytime only for that. 

Nan. You will learn twice as much this first year as in the 
next three put together. 

Luc. Yes, you won't have to call any one in to tutor you 
in Polly Con. 

Ber. (looking about'). By the way, where is Miss Simpson? 

Nan. Miss Gray is going to bring her over here this after- 
noon. 

Luc. It was really Barbara who discovered her. 

Bek. Discovered her? You would think she was an unex- 
plored country. 

Luc. (J??ipa tie /lily). You know what I mean. It was Bar- 
bara who first discovered how needy she is and how deserving 
of success. She is working her way through the school. You 
understand ? Working ! I repeat, working ! 

Ber. Yes, dear. We have digested that. Proceed ! 

Luc. She needs more work. More tutoring. 

ViR. I shouldn't think she would have to look far. 

Luc. {impressively). Miss Simpson came here determined 
to work her way through and to graduate with honors. 

Ber. How foolish ! I don't know what the school is com- 
ing to if so many girls come here to study. 

Nan. Beryl ! 

Luc. Never mind, Nancy ! Beryl doesn't disturb me in 
the least. I am quite used to her careless ways in regard to 
girls less fortunate than herself. There is quite a romance con- 
nected with Miss Simpson. She comes from a place on the 
Maine Coast. Pedunk Point. 

Ber. Mercy, Lucille. I thought you were giving an im- 
personation of a frog. Pedunk Point ! 

ViR. Does sound like it, doesn't it? Pedunk Point ! 

Phyl. How funny ! Pedunk ! 

All. Pedunk ! 

Nan. Girls, how perfectly ridiculous ! When Beryl starts 
anything you are just like the chorus in a play, saying — ''we 
do — we do — we will — we will ! " 

Ber. What class is Miss Simpson in? 

Nan. Sophomore, but she is as old as we are. 

Luc. Barbara says she has been prepared for school by her 
father who is a country minister, and she is way up in some 
things and doesn't know a thing about others. 

ViR. She isn't living in the school, is she? 



8 BEHIND THE SCENES 

Nan. Oh, no, they can't aiiford it. She is the oldest of 
nine children and they are as poor as the mice in her father's 
ciiurch. She has a room down on Vine Street. 

Phyi-. Goodness! Way down there? She might as well 
be on ihe other side of the globe. 

Nan. Well, of course she doesn't get a bit of school fun. 

Enter Barbara Gray and Miranda Simpson, l. 

Barb. Girls, here is Miss Simpson. Some of you know 
her, 1 think. 

Ber. {cordially'). Of course we do. 

{The girls jump np from ihe floor.') 

Nan. We are glad to see you, Miranda. 

Luc. If I might suggest 

ViR. {Jnterriiptiiig). Do sit down ! 
Phyl. Have some peanuts ! 

Ber. That's right ! (/// an aside to Vir.) For goodness' 
sake, don't give Lucille any chance to do any suggesting ! 

(They all sit dotvn, Barb, near Mir., Aie. leaning over the 
back ^Barb.'s cJiair.) 

Aie. Oh, Miss Gray, if all faculty were like you, life here 
would be a jolly lark. 

Barb. Thank you, Aieleen, but don't be too hard on 
faculty. I was one of the girls here less than a year ago and I 
haven't forgotten how to be one still. 

Nan. And you never will, Barbara. 

Dai. {with a sigh). I'm in a mess with some teacher all 
the time, especially Miss Darley. Isn't she the limit? 

Vir. She certainly is ! 

Phyl. I guess you aren't the only one who is in a mess 
with her. She doesn't get along with any of the girls. She 
can't teach any more than 

Nan. Oh, Phyl, you shouldn't speak that way. If Mrs.. 
Sherwood is satisfied with her ability to teach, it doesn't con- 
cern us. 

Luc. Mrs. Sherwood hired her because old Dr. Darley was 
her uncle. That is plain to be seen. 

Vir. She imagines she is such a success. 

Barb. I don't agree with you. I think it is more than 



BEHIND THE SCENES 9 

likely that she realizes that she is a failure, and feels mighty 
mean about it. 

Ber. 1 believe you are right, Barbara. 1 have suspected 
that Miss Darley is human. 

ViR. For goodness' sake why doesn't she show it then ? 

Barb. No one gives her a chance. 

Nan. You must admit, Barbara, that Miss Darley is hor- 
ribly touchy to say the least. 

Barb. She has enough to make her. I believe she could 
be as nice as any of us. 

Ber. And could have as much fun if any one would teach 
her how. 

ViR. {laughing). Well, excuse me ! 

Dai. Isn't she a sight ? 

Mir. 1 think it is the way she dresses her hair. 

Nan. Yes. If she wouldn't comb it back so plain she 
would look entirely different. 

Barb. I think she has a nice face. 

Luc. {from ivindow). Hush, girls i She is coming across 
the yard with Mrs. Sherwood. Looks as if they were coming 
here. 

(Barb, goes to wi?idoiiK She andl^ijc.. stand talking for a 
second and exeunt^ l.) 

ViR. Mercy ! Change the subject ! 

Phyl. Yes, do. Er — er — who in the world will we get to 
be Molly Pitcher ? 

Reenter Luc. , l. , laith a package and a handful of letters. 

Luc. Mail, girls ! 

All {rushing to het-). Any for me ? 

Ber. {palling Nan. to one side). Nancy, I have an idea ! 
We will have Miranda Simpson for Molly Pitcher. 

Nan. Miranda Simpson? Why, she never goes to parties 
or anything like that. 

Ber. It's time she did ! 

Nan. But her costume ? 

Ber. The costume is all ready. It may be a trifle large 
but we can alter it if we all get busy. 

Nan. Oh, Beryl, you do think of the nicest things. I shall 
tell Lucille 

Ber. {quickly). Tell Lucille nothing ! 



10 BEHIND THE SCENES 

Nan. She ought to know. .Why do you quarrel with her 
all the time and give her the wrong impression of you? 

Ber. Because Lucille makes me horribly tired. There, 
never mind ! I'll be good. Call Miss Simpson. 

Nan. Miranda, Miss Kennison wishes to speak to you. 

Ber. (as Mir. cojnes forivard'). Miss Simpson, will you 
do me a favor? Mary Austin is sick and 1 want you to take 
her place in the pageant to-night. She was going to be Molly 
Pitcher. I am chairman of the committee, you know, and it 
will be a great favor if you will help me out. 

Mir. Why, Miss Kennison, I can't. You see 

Nan. Yes, you can, Miranda. Your costume is all ready, 
and you don't have to say a word. We can easily show you 
all that you have to do. She will do it. Beryl. 

Ber. {speaking rapidly and shaking ha fids ivith Mir. ivho 
looks surprised and confused'). Thank you ever so much ! 
It's awfully good of you. By the way. Miss Simpson, you are 
from the North, aren't you? You must join our quartet. 
{Points to ViR., Nan. and herself.') South, east and west. 
We have been looking for north. 

Mir. But I don't sing, 

Ber. That's why we want you. This is the "Never Could 
Quartet." There, Miss Simpson, don't look so horrified ! It 
really isn't polite ! 

Luc. {coining forward ivith a letter ivhich she gives to 
Ber.). Mail, Beryl ! {Hands a package to Nan.) Nancy! 

Nan. {opening the package^. This is from my brother. I 
wonder what 

Ber. {has opened letter). Oh, girls, dad has sent a check 
for a hundred dollars toward Student's Aid. 

All. Great ! Isn't that splendid of him ? What luck ! 

Phyi,. {to Nan., 7vho lifts a doll from the box). Why, 
Nancy Harraden, have you gone back to your childhood ? 

All {surrounding^k^^. Oh, isn't it sweet ? 

Nan. Jim has sent it to Rosie. Won't she be pleased ? 

Ber. 1 should say she would. Daisy, run down and get 
her, will you ? 

Dai. Sure ! [Starts for door folloived by Aie.) Oh, 
Beryl ! {Turns back.) There is something I want to ask you 
l)ef)re I forget. Is it true we are all forbidden to go to Rath- 
skill's any more ? 

Blr. Yes. 

Aie. Why? 



Behind the scenes ii 

Ber. I don't know. Do any of you girls? 

Nan. I don't believe any one knows exactly. 

Dai. It's too mean. The Dutch Tea-room is divine and 
about all the real fun we freshmen ever get is afternoons at 
Ralhskill's. 

Ber. {looking at her anxiously). Well, you mustn't go 
there, Daisy. Do you understand ? 

Mir. There is an unpleasant story in circulation about 
something which happened there one night last week, and 1 
think that is why Mrs. Sherwood has forbidden her girls to go 
there. 

Dai. She will forbid us to breathe pretty soon. 

l^Exit, \.., followed by AiE. 

ViR. I don't believe your sister is going to be as happy here 
as you have been, Ber. 

Ber. Oh, she will get used to it and like it in time. We 
aren't very much alike, and it may take her longer than it 
did me. 

Enter Mrs. Sherwood, \.., folloived by Miss Darley. 

Mrs. S. And this is the study, Miss Darley {smiling at the 
girls'), although I am afraid it isn't always used as such. 

Girls. Good-afternoon, Mrs. Sherwood. Won't you sit 
down. Miss Darley ? 

(Miss D. is indifferent to the girls but very much interested 
in the room.) 

Mrs. S. Miss Darley is very much interested in your club. 

Ber. (cordially). You have never been over before, Miss 
Darley? 

Miss D. No. 

Mrs. S. You have missed a great deal, I assure you. 

All {appreciatively). Thank you, Mrs. Sherwood. 

Nan. {to Miss D.). You will surely come again. All who 
come once come a second time. 

Mrs. S. Phyllis, will you let Miss Darley take the notes her 
uncle made on the iiistory of this house ? 

Phyl. Why, certainly. I will get them at once. 

\_Exit, R. 

Miss D. {examining the fireplace with interest ). This is a 
very old house, isn't it ? 

Mrs. S. Yes, it dates back to Revolutionary days. At one 



12 BEHIND THE SCENES 

time it was the property of a relative of Ethan Allen, the leader 
of the Green Mountain Boys. 

ViR. Do you believe the story of the movable panel, Mrs. 
Sherwood ? 

Mrs. S. I don't know whether I do or not. I certainly 
don't know any one that has ever seen it. 

Miss D. (^quickly). What is the story ? 

Mrs. S. Why, this house was once used as General Wasli- 
ington's headquarters. It is said that a British spy once made 
his escape from the general by means of a movable panel in 
the walls of this room, and a secret passage. It is also said 
that the general kept his plans of campaign in a secret cupboard 
in this room. 

Miss D. Is it possible ? 

Mrs. S. Possible but not very probable. 

Nan. I can assure you that we have searched a good many 
times, and many girls before us. 

RosiE McNiEL {outside). Nancy ! Beryl ! 

Ber. (^going io door). Yes, Rosie ! We are here. 

[Leads Rosie into room, l.) 

Mrs. S. How are you this afternoon, Rosie? 
Rosie. Oh, Mrs. Sherwood, are you here ? 
Mrs. S. Yes, dear. And this is Miss Darley. 
Miss D. How do you do ? 

Rosie (as Ber. guides her toivard Miss D.). How do you 
do ? 1 have heard the girls talking about you. 
Miss D. {dryly). I dare say. 

(Sudde?ily leans forward and looks intently into Rosie' s 
eyes.) 

Rosie. Daisy said you wanted to see me, Nancy. 

Nan. Yes, dear. {Takes doll from the box.) Jim has 
sent you a present. 

Rosie. Your brother? Oh, isn't that lovely of him ! 
What is it ? 

Nan. Guess ! 

Rosie. Candy? 

Nan. No. 

Rosie. A ribbon? 

Nan. No. 

Rosie. I can't guess. There are so many things. 



BEHIND THE SCENES 



13 



Nan. Wei], then, stretch your arms way — way out — and 
she is ■ {Fu/s the doll into Rosie's anus.) 

RosiE {cie lighted). A child ! {Hugs it close to her.) Oh, 
Nancy, tell me about her ! 

Nan. What do you want me to tell you, dear? 

RosiE {feeling of tJie doll's Jiai?). What kind of hair ? 

Ber. Yellow, and dyed at that. She is a blonde, Rosie, a 
strawberry blonde. 

Rosie. No joking. Eyes ? 

Nan. Blue as the skies. 

Rosie. Is she pretty ? 

Viu. You bet she is ! A regular maid of Troy. You had 
belter name her Helen. 

Rosie. No, I shall call her Nancy Beryl. Oh, Mrs. Sher- 
wood, wasn't Mr. Harraden kind? 

Mrs. S. Indeed he was ! 

Rosie. I'm going to show her to mother. {Holds the doll 
with one arm and feels the ivay to the door witJi the other 
Jiand.) And if you are very busy to-day. Beryl, I won't come 
back again. 

Ber. I'm never too busy for you, dear. Come just as you 
always do. 

Rosie. All right, then, just as I always do. \_Exit, l. 

Miss D. Who is that child, Mrs. Sherwood ? 

Mrs. S. The laundress' child, and the pet of the whole 
house. 

Miss D. I hope you do not look upon her case as hopeless. 

Mrs. S. Well, in a way we do. When she first came here 
last fall we were desperate to do something for her. That she 
must go through life this way seemed too dieadful to be true. 
Dr. Eldridge, the young man who took your uncle's place, says 
there is no help for her unless she could have a special treat- 
ment which in her case is impossible. 

Miss D. Not at all. Would her mother be willing that I 
should examine her eyes and operate if I thought there was a 
chance for her? 

Mrs. S. You mean you understand the treatment that Dr. 
Eldridge referred to? 

Miss D. Yes. 

All {looking at Miss D. ivith surprise and respect). Oh, 
really ? Think of it ! 

Ber. Why, Miss Darley, we didn't know that you were a 
doctor ! 



14 BEHIND THE SCENES 

ViR. And you can operate on eyes ? 

Nan. Isn't it wonderful ? 

Miss D. {sJiortly). Nothing wonderful at all ! I came here 
directly from Germany where 1 had been studying. There is 
nothing wonderful about it. 

{She turns away. There is an awkward pause.') 

Ber. {suddenly). Oh, Mrs. Sherwood, I forgot to tell you 
that father sent me a check toward Student's Aid. 

(JShozus her the check.) 

Mrs. S. That is very generous of him. (Ber. throws the 
check on the desk and forgets about it. Miss D. regards her 
and the check thoughtfully.) I suppose everything is ready for 
to-night. 

Nan. Very nearly, but really we should be excused for 
there are some things to be done. 

Mrs. S. Certainly. Don't mind us at all. 

Luc. And we haven't talked a word of business to Miss 
Simpson. 

Ber. That's right, but we can do it while we try her cos- 
tume on. Come, girls ! 

All. We will see you to-night, Mrs. Sherwood. 

[They exeunt, r. 

Miss D. You mentioned a Dr. Eldridge who has taken my 
uncle's place. What is his full name? 

Mrs. S. John Spencer Eldridge. 

Miss D. He comes from Albany? 

Mrs. S. Yes. Do you know him ? 

Miss D. I have heard of him. 

Mrs. S. He is a very successful young physician and is 
gaining great popularity here. I shall have to go. Miss Darley. 
Do you care to remain here for a while ? 

Miss D. {glancing about). I think so. There is much to 
interest me here. 

Mrs. S. Very well. If you will talk with Miss Gray I am 
sure she will prove of assistance to you. Miss Darley, I fully 
appreciate your distaste of your position here, and I assure you 
that 1 do appreciate what you are doing for me. I only hope 
that some day I may be in a position to do something for you. 

Miss D. Don't speak of it, Mrs. Sherwood. I only hope 
that I may be successful in what 1 have undertaken, and your 



BEHIND THE SCENES I5 

gain is mine, you know. (^She turns toward the 7nantel as 
Mrs. S. exits ^ l. Discovers Dr. Eldridge' s picture ; takes 
it tip 7vith a little cry.) Jack ! Jack ! 

{She stands looking at it. Phyl. enters with some note- 
books. She hastily replaces t/ie picture.) 

Phyl. Here are the notes, Miss Darley. 

{Hands them to her.) 

Miss D. Thank you very much. Are you in a hurry to 
have them returned ? 

Phyl. Oh, no, as long as we are sure of having them re- 
turned some time. We were very fond of your uncle and he 
took a great interest in this club. It is our idea to publish a 
little book on the history of this house and club, and of course 
your uncle's notes will be of great service to us. 

Miss D. I will be careful of them. (Phyl. starts to exit.) 
By the way, Miss Moore, whom do you consider the most 
popular member of this club ? 

Phyl. {turning back from the door and regarding her in 
surprise). The most popular member ? Beryl. 

Miss D. You feel sure of that? 

Phyl. Oh, yes, there's no question about it. Ask any of 
the girls. 

Miss D. I thank you. 

{She turns aivay. Phyl. regards her with surprise for a 
second ; finally sJirugs her shoulders and exits, R.) 

Enter Baub., l. 

Barb. Good-afternoon, Miss Darley. Mrs. Sherwood said 
you wished to talk with me. {Glances about.) What has be- 
come of tlie girls ? 

Miss D. I don't know where they went. I think probably 
some one discovered a new receipt for fudge. 

Barb, {smiling). Do you think that is all that interests the 
girls ? 

Miss D. The most of them, yes ! Fudge, false hair and a 
new way to dance the one-step. Miss Gray, how you can 
stand it to chaperone this house full of crazy heads is beyond 
me. If I cared for teaching or for the life here I might look at 
things from a different standpoint, I suppose. 

Barb. I am quite sure that you would. Miss Darley, I am 



l6 BEHIND THE SCENES 

afraid I don' I quite uiulci stand your position here. Mrs. Sher- 
wood said she thougiu 1 might be of sou>e assistance to you. 
If you care to explaiu {She hesitates?) 

Miss D. {^quickly^. Yes, I will explain. I believe I can 
trust you. Heretofore 1 have never trusted secrets to any one 
but men. You were acquainted with my uncle ? 

Barb. Yes, indeed. 

Miss D. And know, I suppose, that he was a wealthy man ? 

Barb. Yes. 

Miss D. At one time I was his heir. He didn't believe in 
women following his profession and when 1 took up the study 
of medicine he cut me off. When he died it was found that 
he had again changed his mind, and had left me about two- 
thirds of his fortune, providing 1 would come here and carry 
out his wishes as to the disposal of the other third, which in 
some way is to benefit this school. 

Barb. (Jjiterested'). Really? 

Miss D. Yes. He left me a letter in which he told me a 
romance of his life which 1 never even suspected. Jn his 
younger days he loved my mother. He never married and he 
wished the daughter of the woman he loved to stand in the 
place of a daughter of his own. He asked me for the sake of 
her memory to carry out his last wishes. What could 1 do? 

Barb. As he asked, of course. 

Miss D. Miss Gray, he was the strangest man, and my 
place here is the most absurd a woman was ever placed in. 
You know some of his peculiarities? 

Barb. Why, yes. He was interested in the detection of 
crime and was a handwriting expert and all that sort of thing. 
He seemed to imagine he was a Sherlock Holmes. 

Miss D. Exacny. 

Barb, {smiling). And you don't inherit any of his talents? 

Miss D. Only the handwiiting. I can do anything with a 
])en. 1 am bound to secrecy until I have carried out his wishes 
and it is beginning to look to me as if I never could carry them 
out. 1 am up against a blank wall every way I turn. All 1 
have to guide me is a cipher, something like this — 10-14-4-17-3. 
J have not even found the will which, if you will believe me, is 
hidden somewhere in — I am beginning to believe — this build- 
ing. The whole thing is idiotic. Jf you could only realize 
how distasteful this is to me. 

{IValks lip and dozvn the room.') 



BEHIND THE SCENES \J 

Barb. I think I do understand. I don't know in just what 
way 1 am going to be of service to you, but 1 hope 1 can help 
in some way. 1 sliall count it a great privilege. Miss Darley, 
if you will pardon my frankness, 1 don't believe you are look- 
ing at things from the right standpoint. You weren't in sym- 
paiiiy w^im your uncle's iileas, and this whole thiiig looks trivial 
lo you. When you first came here 1 looked at you in -wonder 
and tried to imagine how it would feel to have been related to 
such a man as Professor Darley. Your uncle was one of the 
greatest scientists this country has ever known. He has given to 
the world three books of inestimable value. He did have some 
peculiar ideas. He did do some peculiar things, but what right 
lias any one to say that what he was interested in was trivial? 
One of tlie greatest men this country has ever known has left you 
a task to fulfil and you do not appreciate the honor which has 
been bestowed U[)on you. 

Miss D. Miss Gray, I thank you. You have given me a 
view of the situation which I am ashamed to admit 1 am afraid 
1 should never have taken. 

Bai^b. Jt is only the other point of view, and you will come 
to use it in regard to the girls when you know them better. 

Miss D. {doubtfully). Well — perhaps. 

Barb. The girls are having a pageant to-niglu fi)r the l)enefit 
of Student's Aid. 1 want you to see it. It is going to be very 
pretty. Will you come as my guest ? If you will excuse me a 
minute I will see about an extra ticket. 

{Exit, R. , liastily, before Miss D has a chance to reply.) 

Miss D. {following he/). But my dear Miss Gray ! 

\_Exif, R, 

{Slight pit use. RosiE enters L., her doll on Iter arm, book 
in iter- hand.) 

RosiE. Beryl! Beryl! Aren't you here? Isn't there 
an) body here? {Feels her way to a ciuiir by tlie fireplace 
and places the doll in the chair. Slie sits on t/ie floor beside 
her.) Sit there, Nancy Beryl, while I study some more. {Runs 
her iiand over the pa^es of the book.) 4 times 12 is 48. 5 limes 
12 is 60. 6 times 12 is 72. Where's that awful nine? 9 limes 
12 is 108 — 108 — 108 — 108 1 12 times 12 is 144. 1 guess I 
know that. {Feels of the doll.) Oh, Nancy Beryl, I wish I 
could see you as well as feel. Vol? have the advantage of me. 



l8 BEHIND THE SCENES 

You know liow I look but I don't.kiiovv liow you look. Beryl 
says every one in the world has something to bear. Sometimes 
you wouldn't think so but it's always there. Her mother died 

when she was just a little girl and {Suddenly sits up 

straight and listefis.) Who's coming? 1 don't know that 
step. (Miss D. enters, r. She glances at RosiE ; goes quickly 
to desk; hunts for check.') Who is there? Why don't you 
answer? {Sharply.) Who is there? [M.i'i^ T>. exits, h., with 
the check as Ber. enters, r.) Oh, Beryl ! 

Ber. (Jiurrying to Rusie). What is the matter, Rosie ? 

RosiE. Who is in the room, Beryl ? 

Ber. No one, dear. 

RosiE {poi?itifig to the desk). Right there ! 

Ber. No one, dear. {Laughs.) Not even a mouse. 

Rosie. But some one was there and they wouldn't answer 
me. 

Ber. Well, then, they have gone. 

Rosie. But I didn't hear them go. 

Ber. Probably you were frightened and didn't notice. 
Never mind. Let's hear the lesson. 

{Sits by the fire. Rosie sits on the floor at her feet.) 

Rosie. Well, anyway, I will know that step if I hear it 
again. {Repeats the table of twelves.) Is that right. Beryl ? 

Ber. Every bit. How well you do, Rosie ! You make me 
ashamed of myself. 

Rosie. And now read me *' Crossing the Bar." 

Ber. {with a sigh). That again, Rosie ? 

Rosie. But i love it so ! Please, Beryl ! 

Ber. ** Sunset and evening star 
And one clear call for me 
And may there be no moaning of the bar 
When I put out to sea. 
But such a tide as moving seems asleep 
Too full for sound and foam 
When that which drew from out the boundless 

deep 
Turns again home. 
Twilight and evening bell 
And after that the dark." 

Rosie. The dark. 



BEHIND THE SCENfE^ IQ 

Ber. " And may there be no sadness of farewell 
When I embark. 
For though from out our bourne of time and 

place 
The flood may bear me far 
I hope to see " 

RosiE. I hope to see. 

Ber. '' My pilot face to face " 

RosiE. Face to face. 

Ber. " When I have crossed the bar." 

RosiE. When I have crossed the bar. 



CURTAIN 



ACT II 

SCENE.— .S^?wd' as Act J. 

{As the curtain rises Bek., dressed as Jeanne D' Arc, sits 
by table zaritini^. Luc, dressed as Martha Washington, 
sits near with a book in Iter Jiands, but sJie is 7vatcJiin^ 
MiK., dressed as Molly Pitcher, who stands in tJie middle 
of the room surrounded by Nan. as Pocaiwntas, Phyl,. as 
Marie Antoinette andYiK. as Fr is cilia Alden. They are 
arranging Mik.'s costume.) 

Nan. That's right, Phyllis. Take it in just a little more. 
There! Isn't that great? Oh, Miranda, you look lovely!. 
Doesn't she, girls ? 

A[,L. Yes, splendid I 

Mir. I wish I felt splendid. I'm so scared. 

Viu. Nonsense! You'll be all right. If you had anything 
to say it would be different. Girls, 1 haven't the faintest idea, 
of one line I have to say, and I don't care. if I haven't. I'm 
so sick of being in things. Beryl, how can you sit there so 
calm and unconcerned and write on a theme? 

Ber. Because I have no theme to hand in to Miss Darley 
to-morrow, 

Phyl. {ivith a groan). Neither have I. 

Nan. Never mind. We will soon be blooming alumnae 
with nothing to bother us. 

ViR. Blooming alunmae is good. {Picks np a slip of 
paper ; looks at it; throws it onto the table.) Here's some- 
thing of yours, Beryl. 

Ber. {looking at the paper). What is it? Oh, that's not 
mine. Daisy left that here. 

ViR. Daisy? Why, it's your writing. 

Ber. No, it isn't. 

ViR. Do you mean to say that Daisy wrote this? 

[Picks np the paper.) 
Ber. Yes. 
ViR. Girls, look at this I 

{Girls gather around the table ^ 
20 



BEHIND THE SCENES 11 

Nan. Wliy, Beryl, she writes exactly like you. 

ljb:u. {s/nu'i/ig). Ves, doesn't she ? 

Phvl. Why, s|ie could forge your name without making 
the slightest effort. It's positively dangerous. 

BiiR. {ligJitly). Well, 1 hardly think so, between sisters. 

Luc. (Jiirni/ii( over the pages of her booh). Girls, did 
Shelley ever write anything on the subject of love? 

Nan. Yes, of course. 

Luc. Well, I'd like to know what. {As tio one speaks.) 
Oh, don't all speak at once ! 

Phvl. We didn't say that we knew vvliat. 

ViR. Wait until we take up Shakespeare's Sonnets next 
week. It will be a regular love feast with Miss Darley. 

Luc. Don't you worry about that. There's no sentiment 
in Miss Darley. The way she will glide over love sonnets will 
be something to remember. 

Phyl. 1 don't blame her. It's a sickening subject. Love 
is like one of Aunt Jemimy's pancakes. So hot at first that it 
burns you, soon cools and is a flat, vapid, insipid thing forever 
after. 

All. Oh-o o-o ! 

Nan. Listen to the words of wisdom ! 

Mir. You don't really uiean that? 

Phyl. I'd like to know why not. Aren't my sentiments 
good ones, Ber ? 

Ber. {looking up). What? I haven't the least idea what 
you have been discussing. 

Luc. We would like your ideas of love. 

Ber. Why, certainly. {Rises.) 

Golden-haired girlie widi eyes of blue, 
A boy who swears that he'll e'er be true, 
A hammock belovV and the moon above, 
Is a combination that spells love 1 

All. Oh ! Traitor ! 

Enter Barb., l., /// evening dress. 

Luc. Beryl, I wonder if you could be serious if you tried. 
Bb:R. I didn't know you were serious. Here's Barbara. 
Let her tell you her ideas. Or she might sing them to you. 
All. Oh, yes ! Come on, Barbara ! 
ViR. We have got to entertain you later, entertain us now. 



11 BEHIND THE SCENES 

Mir. Do, so I can forget for a [gw minutes what is before 
me ! 

(Barb, swgs popular song, girls joining in tJie cJiorus. One 
of the girls plays for Barb.) 

Nan. Oil, girls, what a glorious time we are having. I 
don't believe you girls who are going to college will have any 
more fun than we have had here. 

Luc. We don't expect to, Nancy, but we ought to be bet- 
ter college girls for our four years in Sherwood. 

All. That's right ! 

Ber. Miranda, did you ever write anything for the Review ? 

Mir. No, I haven't. 1 have been too busy for outside 
work. I'd love to try. Oh, you can't realize how hard it is 
to never have time to do anything for the school. All 1 do is 
for Miranda Simpson. 

Barb. Well, 1 am sure you shouldn't feel badly about that. 

Nan. We would any of us be proud to be able to work our 
way through as you are doing. 

Mir. Don't think 1 am ungrateful. I'm not. I'm glad ! 
Glad as I can be that I am able to do it. But there isn't any 
one of you who thinks of self in a thing that you do. It is all 
for the glorious whole. Oh, girls, 1 would be almost willing 
to give a year out of my life here if 1 could just do something 
for Sherwood. 

Barb. True school spirit, Miranda ! 

Luc. Watch for your chance. You know opportunity 
knocks at least once at every door. 

Bakb. {looking out the window). Your audience is begin- 
ning to arrive. 

All. Really? 

Phyl. Goodness ! I didn't reahze it was getting late. 

Mir. I'm scared stiff. 

Nan. You aren't anything of the kind. Come on, girls ! 
Barbara, will you help make up some of the girls? 

Barb. Gladly. 

[Ah exeunt, r., but Ber., who goes to desk.) 

Ber. {calling after Nan.). Nancy, did you notice what I 
did with dad's check? I showed it to Mrs. Sherwood and it 
seemed to me that I put it on this desk. 

Nan, {looking back from door). You did. \_Exit. 



BEHIND THE SCENES 23 

(Bek. looks over tJie papers on Ihe desk. Dai. enters^ L., in 
long coat and with no hat.) 

Dai. Oh, Beryl, I want to speak to you. Have you time? 

Bek. (^glancing out window). Well, the audience is arriv- 
ing pretty fast, but 1 always manage to make time for you, 
dear. What is it, little sister ? 

Dai. How perfectly lovely you look, Beryl ! 

Ber. (laughing). Is that what you wanted to say to me? 

Dai. No, of course not ! Maybe you will think it's queer, 
Beryl, but — can — can you let me have some money? 

Ber. Oh, that's it. Overstepped your allowance already ? 
If you have commenced that now, where do you think you'll 
land ? 

Dai. I haven't exactly done that, Beryl. I have money 
enough for my regular expenses. This is something special. 
Do you believe you can, Beryl ? 

Ber. Why, of course. How much do you want? Five 
dollars ? Ten ? 

Dai. Oh, no, more than that ! Fifty dollars at least. 

Ber. Why, Daisy, what do you want of so much ? 

Dai. Please don't ask me. Beryl. Do you mind very much 
if 1 don't tell you? 

Ber. Why, yes, I think 1 do. I would rather you told me 
what you are going to do with the money. 

Dai. Oh, Beryl, can't you trust me? 

Ber. I don't know, Daisy. 1 hope I can. 

Dai. (reproachfully). Why, Beryl ! 

Ber. Oh, well, if you feel that way about it, why, I will 
trust you. You needn't tell me, but I can't let you have that 
much money before to-morrow afternoon. 

Dai. (anxiously). You can't possibly to-night ? 

Ber. No, I haven't' it. Father gave me a bank account 
this year and I will draw that much for you to-morrow after- 
noon. Won't that be all right ? 

Dai. It will have to be, I suppose. Oh, dear, I think it is 
the meanest skin that we can't come over here to-night. I 
wouldn't have come to Sherwood if I had known how horrid 
everything was going to be. 

Ber. Daisy, I can't bear to hear you say that. (Throws 
her arms around her.) Oh, Daisy, if you don't make a suc- 
cess of your life here it will break my heart. 

Dai. (petulantly). Why, Beryl? Why? I'm not a bit 



24 



BEHIND THE SCENES 



like you, and it is so bard to live up to your ideas. Why do 
you care so much ? 

Ber. {taking a little chain and locket from her neck and 
opening the locket^. Do you know this picture ? 

Dai. Yes, it is our mother. 

Bek. a molher that 1 wibh you could remember as I do. 
When she was dying she put you into my arms and 1 promised 
her 1 would be both mother and sister to you as long as 1 live. 
She was hardly more than a girl when she died and you are 
just like her. Her eyes look at me from your face. Her voice 
speaks to me when you speak. She hves again in you. Prom- 
ise me that not by one act, one thought, will you bring disciedit 
to her memory. 

Dai. 1 will promise to try, Beryl, from this time forth, bui, 
oh, 1 wish you had said this to m,e before. 

Bek. (suddenly). You must go, Daisy. I'm afraid the 
girls will need me. Come this way ! 1 will let you out by the 
side door, illiey exeunt, \<. Miss D. enters, i,., /;/ evening 
dress and zvtth a large bunch <>f violets. Her hair is becom- 
ingly arranged and she wears some violets in her hair. She 
has one of the note-books whicii Phyl. gave her. She walks 
slowly about the room, referring to the book and examining 
things carefully. Sh^ finally goes to table and throws the 
book down toith a gesture of despair and picks up some papers 
on the table. Ber. enters, k., stops abruptly and looks at 
Miss D. in surprise. Ber. comes forward.) Does — does any 
one know you are here, Miss Darley ? 

Miss D. (sharply). Why should they know I am here? 
Do you think there's any imminent danger of my stealing your 
study clock ? 

Ber. (lightly). Oh, I wasn't thinking of the clock. It was 
my pocketbook. I left it here on the table. (Lano^hs.) Did 
yon wnnt to see any of the girls? Can I do anything for you ? 

Miss D. No. Whose work is this? 

Bei^. (looking at the paper). Nancy Harraden's. 

Miss D. Miss Harraden is a conscientious student and an 
excei)tionally bright young woman. 

Ber. Isn't she? She can give the best imitation of a 
scrambled egg you ever saw. 

Miss D. [astonished). A scrambled egg ? 

Ber. Oh, I l)eg your pardon. I wasn't thinking about 
what I was saying, but she really can, and that you know is a 
very difficult stunt. ^ 



BEHIND THE SCENES 15^ 

Miss D. So I should imagine, and a liighly intellect luil one 
for the presidfnt of this club. 

Hb:\i. (^/ooki/ig at Miss D. curiously'). InIIss Dailey, did you- 
evci- leach girls befoie you came liere? 

Miss D. Goodness, no ! 1 never did any teaching before 
J came here. 

Bku. Oh, that accounts for it, 1 suppose. 

Miss D. {sharply). What? 

Ber. The fact that you don't seem to take any interest in 
any of us. 

Miss D. Good gracious ! You can't expect me to take an 
interest in tlie rattle-headed, indifferent, irresponsible crowd of 
young women who make up my classes. 

Ber. (smi7i//g). 1 suppose we do seem like that to you. 
You must have spent a very — very — sensible sort of life. You 
must have studied just about all the time to know so much. I 
never realized how yoimg you were until to-night. 1 think you 
are very wonderful, Miss Darley, and J wish you wouldn't think 
that we girls are never going to do anything worth while. L 
can assure you that nearly all of us have some great ambition 
in life, and we are going to be shining hghts when we leave 
here. 

Miss D. Are you ? 

Be[i. Yes, 1 am going to be a shining light for one man. 
That's my father. I came here to please him and next year I 
am going home to keep house for him. I am the only one 
there is to do it and the only ambition I have in life is to make 
him feel that life is worth living. 

Miss D. In that case have the years you have spent here 
been worth while ? 

Ber. Oh, yes! It's worth while to pi epare yourself to give 
happiness to a man you love, isn't it? 

Miss D. {faintly). I suppose so. Miss Kennison, is Daisy 
Kennison of the freshman class your sister? 

Ber. Yes, she is. 

Miss D. You should speak to her. She is falling way, way 
behind. 

Ber. I'm sorry to hear that. I was afraid it might be so. 
Thank you for telling me. Miss Darley, are }Ou going to see 
our pageant ? 

Miss D. Yes. Where is the hall? Connected with this 
building, isn't it? 

Ber. Yes. You are behind the scenes now. We are using- 



26 BEHIND THE SCENES 

some of the rooms to make up, as tlie dressing-rooms are so 
small. 1 can take you to the l»all this way if you like. {Turns 
to the right exit. ^ Jt is nearly time to begin. 

Miss D. Thank you; Miss Gray has the tickets and I think 
1 will wait for her. 

Bek. You will be all right then. She has reserved seals. 

{Exit, R. Miss D. ivalks slowly to the mantel and takes up 
picture of Dr. Eldridge. ) 

Miss D. {looking at the picture). You, too, thought it was 
worth while to make happiness for just one man. 

^///<?/- RosiE, R., in a ivJiite dress and pink sash. 

RosiE. Is there any one here? 

Miss D. {replacing the picture and walking toward Rosie). 
Yes, 1 am here. 

RosiE. 1 have heard your voice before, haven't I? Oh, I 
remember ! It's Miss Darley ! 

Miss D. You always remember a voice? 

RosiE. Almost always. {Thoughtfully.') Seems as if I 
remember your step, too. 

Miss D. How gay you are to-night ! 

RosiE {smoothing her dress and sash). Yes^, this is my best 
one and the sash is pink. I'm going to the pageant. Beryl 
told me how all the costumes look, and I can guess about it 
when I hear what they say. There's going to be an orchestra, 
too. 

Miss D. {suddenly sitting down and gathering RosiE /;/ her 
arms). What a dear little soft thing you are, Rosie! 

Rosie. I guess I must be. Dr. Eldridge told me that, too. 

Miss D. Did he? You know the doctor pretty well? 

Rosie. Oh, ye-es ! We are great friends. He came when 
1 had the mumps and always ever since he's taken me out in 
his car. We play I'm his little girl, 'cause 1 haven't got any 
papa and he hasn't got any little girl. 

Miss D. Oh ! And would he like to have one? 

Rosie. Oh, ye-es ! Once he thought he was going to some 
day but then he found out he had got to live all alone, and he 
couldn't have any little girl 'cause there wouldn't be any one 
to take care of her. 

Miss D. {with an effort). I see. Why — why does he live 
all alone ? 



BEHIND THE SCENES 1"] 

RosiE. He used to love a fairy princess wlio had eyes like 
violets and always wore flowers lii^e her eyes, but she went away 
and left him 'cause she loved fame better than him, and she 
didn't care anything about little girls at all. (Miss D. stands 
up sii(hie?ily a7id puts Rosie away f torn her.) Dr. Eldridge is 
down in the hall. 

Miss D. {with a gasp). He is here in this building? 

RosiE. Yes. He has come to the pageant. I'm going to 
sit with him. I guess I had better be going. 

Miss D. {suddenly). Rosie, will you tell him something 
without letting any one else know? 

RosiE {delighted). Oh, ye-es ! 1 would love to tell him a 
secret. 

Miss D. {detaching the violets from her dress and placing 
them ill Rosie's hand). Give him these flowers and tell him 
that the one who sent them has found that she loves little girls 
belter than fame. 

RosiE. All right. I will tell him. {Exit, r. Miss D. 
stands looking after her for a second ; suddenly starts toward 
door.) Rosie ! Rosie ! Wait ! Don't tell him ! 

{Stops abruptly as BaI'^b. enters, K.) 

Barb, {looking at Miss D. /// surprise). Oh, you are here? 
Is any tiling the matter ? 

Miss D. {very fujich confused). No! No, indeed ! {Grabs 
note-book from table.) 1 have — er — been looking over my 
uncle's notes. 

(Ber. hurries in, R., zvith some programmes in her hand.) 

Ber. Oh, I thought Nancy was here. The curtain is going 
up in a minute. You will be late if you want to see the start. 
Have you a programme ? 

Barb. No. 

(Ber. hands her one and hands o?ie to Miss D. She starts 
for door. ) 

Miss D. Miss Kennison, I see you are going to have danc- 
ing after the pageant. Will you dance with me? 

Ber. {looking back from door). Why, certainly. I should 
be pleased to. 

Miss D. Which dance? Please write your name here. 

(Hands her programme to Ber.) 



28 BEHIND THE SCENES 

Ber. (^impatiently). Number ^ is tlie only one I have left. 
{Hurriedly tvrites her fiaine.) 1 must go ! {Runs out r.) 

Bakb. (/// surprise). So you dance, Miss Darley ? 

Miss D. No. 1 don't know one step from another. 

Barb. Well, but — but — you just asked 

Miss D. Yes, yes, I know ! 1 merely wanted a sample of 
her handwriting. 

Barb. But what will she think? 

Miss D. I am sure I don't know. I can have a headache 
by the time Number 7 is reached. 

Barb. {looking at her in despair). Well, let us be going. 

Miss D. To the hall ? 1 guess I — 1 won't. 1 can get a 
very good idea of things from here. 

Barb. Why, no, you can't ! The idea ! I have splendid 
seats, Miss Darley ! 

Miss D. Yes, yes, I dare say ! You go right along without 
me, Miss Gray. To tell the truth I feel very peculiar. I never 
could stand it in the hall. I'm positive I should faint dead 
away. 

Barb. Oli, you aren't feeling well? 

Miss D. No. 1 don't know when I have felt so upset. 

Barb. That's too bad. I'll tell you what we can do. 
Gome through this way and you can watch the pageant from 
behind the scenes. Between the parts you can come out here 
and rest. 1 want you to see the girls. ' I am sure you will 
enjoy it. 

Miss D. Well, if you insist. I'm sure you are very kind. 

{They exeunt, r. Slight pause. Aie. opejis tJie lui/idow 
and looks in.) 

Aie. No, there isn't a soul here ! Come on ! Don't push ! 
Wait a minute! {Climbs in window.) Now, give me your 
hand ! There ! {Helps Dai. ///.) Oh, we're in ' We're in ! 
{Grabs Dai. and begins to dance.) Oh, isn't it fan ? 

Dai. Yes, it is, but we ought not to be here. Oh, Aieleen, 
Beryl was talking to me to-night and if I hadn't promised you 
I wouldn't be here now. I've got to settle down and study. 
I know I flunked every one of those exams last week. 

Aie. Oh, don't borrow trouble. We are going to have a 
lark to-night, anyway. 1 know the dandiest little place where 
we can see the whole show. 

^///(?r RosiE, L, 



BEHIND THE SCENES 2() 

■ RosiE \feeling her way along tlie wall toward the fireplace). 
Miss Darley ! Miss Daiiey ! {Turns from fireplace and 
crosses room.) Aren't you here, Miss Daiiey? [^Exity r. 

Dai. {ivith a gasp). My land ! If that had been any one 
but Rosie ! If we should be seen ! 

AiK. (very much excited). Daisy, did you see? Why, I 
couldn't believe my own eyes ! 

Dai. See what ? 

AiE. Wiiy, when Rosie was feeling along by the mantel, 
the wall moved right there in the corner. 

Dai. Are you crazy ? 

AiE. (going cautiously toward fireplace). I — I don't know 
but 1 am going to find out. (Opens a small door in the cor- 
ner by the fireplace.) I was right, Daisy ! There's a door in 
the wall ! Did you ever ? 

Dai. Oh, Aieleen, come avv'ay ! You don't know what 
might be in there ! Aieleen ! Don't go in ! 

AiE. (stepping through the door-). Oh, , Daisy, there's a 
narrow stairway here. Where do you suppose it leads to? 

Dai. Oh, Aieleen, keep still ! I hear some one coming 1 
What shall we do? 

AiE. (grabbing her and pulling her through door). They 
won't see us here ! That's sure ! (Fulls the door to.) 

Dai. (with a little cry). Don't close it tight ! 

AiE. No. Don't be such a 'fraid cat ! 

(Miss D. enters, R., and glances about ; goes to table.) 

Miss D. (taking tip note-book). What did I do with that 
check? (Opens book, turns over leaves, finds cJieck.) Oh, 
yes ! ( Takes her prograrnme, sits by table, copies nafue from 
programme to check ; takes note-book and walks about the 
room.) 1014-4-17-3! 

. (Fiiuilly exits, dropping a slip of paper as she goes. Dai. 
conies cautiously out followed by Aie.) 

AiE. What on earth was she doing? 

Dai. She sat down at the table and it looked as if she 
endorsed a check, but she took an awful long time to do it. 

AiE. Wasn't she talking to some one ? 

Dai. She was murmuring something to herself. Sounded 
like numbers. 

AiE. Isn't that just like her? Wandering around talking 
to herself. She is perfectly dippy, 



30 



BEHIND THE SCENES 



Dai. You ought to have seqii her. She looked actually 
pretty. 

AiE. {scornfully). Oh, she must . 

Dai. Well, she did. Aieleen, we must go somewhere. We 
shall get caught. 

AiE. Daisy, there's a cupboard up in here. {^Goes back to 
fireplace.') I think it must be back of the picture over the 
mantel, but I can get at it from here. 

(^Pushes a chair through the door and goes inside.) 

Dai. Oh, Aieleen, don't bother now ! Do come ! 

AiE. {handing some papers to ViM.). Here, Daisy ! {Comes 
out and pulls the chair out.) That's all there is up there. 

Dai. What are these, Aieleen ? We have no right to touch 
anything. 

AiE. Don't you suppose I know that? We will have to tell 
what we have found and about this door, too. I'm not going 
to close it tight. We might never be able to open it again. 
Come on ! We shall miss the whole pageant. 

\They exeunt, R. 

(Slight pause. Mrs. S. enters, R., zvith Miss D.) 

Mrs. S. I didn't understand what you said to me. Miss 
Darley. We will not be disturbed here. Tell me again. 

Miss D. I asked you if you hadn't forbidden the young 
ladies to go to Ralhskill's. 

Mrs. S. Yes, 1 have. Has some one been there? 

Miss D, {handing check to Mrs. S. ). Do you recognize 
this? 

Mrs. S. Why, yes, it is the check Mr. Kennison sent to 
Beryl for Student's Aid. 

Miss D. Is that her endorsement? 

Mrs. S. {turning it over). Yes, this is Beryl's writing. 

Miss D. I wonder how she happened to cash that at Rath- 
skill's? 

Mrs. S. Beryl cashed this at Rathskill's? Why — why — 

she has no right to cash this at all and at {Regards 

Miss D. /;/ astonisJmient.) Why, Miss Darley, I can't believe 
this of Beryl ! How do you know about it ? Where did you 
get the check ? 

Miss D. I can't tell you that just at present. Will you 
kindly ask Miss Kennison about this as soon as the first scene 
is over, and ask her in the presence of the other girls ? 



BEMmD THE SCENfES 3I 

Mrs. S. {iigJiasi). Why, Miss Daiiey, you surely don't 
mean while this pageant is t^oing on ? 

Miss D. Yes. 

Mrs. S. {astonished). But, Miss Daiiey, what a thing to 
do ! Beryl has a part. 1 don't know what effect it would have 
on her. 

Miss D. Mrs. Sherwood, I haven't asked any help of you 
so far. Can't you do this much for me? 

Mrs. S. You can't mean that it has anything to do 
with 

Miss D. {interrupti?ig). I can't tell you what I mean yet. 
Please do this for me. 

Mrs. S. {with a sigh). Very well, if you put it that way, 
but I can't say that I like the idea. It must be nearly time for 
the curtain. We may as well have it over. \_Exeii?it, r. 

{Slight pause. Dai. pulls Ber. in r.) 

Dai. Beryl, come in here, quick, where I won't be seen ! 

{Begins to cry and clings to Ber.) 

Ber. Daisy, what are you doing here ? 

Dai. Don't ask me, Beryl ! Oh, you will help me, won't 
you? Oh, why didn't you talk to me sooner ? Oh, I'm so 
unhappy. Promise you will help me ! 

Ber. {very much alar7ned). Why, of course I will, but I 
must know what you have done. {Glances toivard v.. exit.) 
The girls are coming ! Go in the little room across the hall ! 
I will come as soon as I can ! {Pushes her through door, l., 
turris and smiles as the girls enter, r.) Oh, Miranda, you 
did fine ! 

Nan. {delighted). Didn't she? 

Mir. Oh, I never was so scared in my life ! 

Phyl. Isn't everything going splendid? 

Aix. Perfectly great ! 

Viu. Thank goodness, my part is over ! I felt as if I was 
in a trance. I won't be in another thing this year. 

Enter Mrs. S. and M\^?. D., \i., folloived by Barb. 

Nan. Oh, Mrs. Sherwood, don't you think the pageant is 
great ? 

Mrs. S. Yes, it certainly is. [Gives Miss D. a look of ap- 
peal, and getting no encouragement turns to Ber.) Beryl, 



32 



BEHIND THE SCENES 



how (lid you happen to cash your falher's check at Rathskill's 
when it has been expressly lorbidcien that any of my girls 
should go tlieie, and how does it happen that you cashed the 
check given to you for Student's Aid ? What did y(Ai do with 
the money ? 

(Miss D. 7valches Ber. closely and tlie girls gatJier around 
and regard her in astonisliment.) 

^^\K. Father's check ? 

Mrs. S, Yes. Here it is. This is your endorsement, 
isn't it ? 

Ber. (^looking at I he check, i^ii'es a little gasp and gives a 
quick look toward door, l. ; quickly recovers). You say it was 
cashed at Rathskill's ? 

Mus. S. Yes. What have yon to say ? 

Ber. Nothing. 

Mus. S. Why, surely you will say something, Beryl. Why 
did you go there? Why did you cash the check? 

Ber. 1 told you I have nothing to say. 

Nan. But, Beryl, surely ^ — — 

Ber. {interrupting). Don't, Nancy, please ! If you will 
only go away and leave me lo myself. 

Luc. {quickly). It would be best to go. 

MiR. The other girls will be coming in here and others will 
hear about it. 

Phyl. Bui, surely, Beryl, you will deny this outrageous 
story, 

Ber. I can't, Phyl. 

Mrs. S. I am sure you will cliange your mind, Beryl, and 
then we can talk things over. 

Ber. I shall not change my mind. Girls, won't you go, 
please! {All exeunt, R. Nan. conies back.) 

Nan. Beryl, I can't imagine what this means. 1 know you 
haven't done what Mrs. Sherwood says. 

Ber. Thank you, Nancy. Keep them all away from me ! 

Nan. All right. {Exit, r. Ber. goes to door, \..) 

Ber. {calling softly). Daisy! Daisy I {Listens.) Gone! 

{She lurns and slowly liuilks back to center of room. Sud- 
denly takes out locket, opens it and looks at picture. 
Barb, hurries in, R.) 

Barb. Beryl, come, dear ! You must go out front ! There 
is a whole basket of flowers for you ! 



BEHIND THE SCENES 33 

Ber. {closing her hand convulsively over locket). Oh, Bar- 
bara, I can't ! I can't ! 

Barb. You must, dear. Don't you see that you must? 
No one knows but the girls and you mustn't let any one else 
know ! 

{Throws her arm around Ber. and leads her out, r.) 

{Slight pause. Nan., Vir., Mir. and hue. enter, r.) 

Nan. {as she enters). No, she isn't here i 

Vir. Well, we must find her. {Turns back toward door.) 

Enter Phyl. 

Phyl. She is with Barbara. She went out and got the 
flowers. 

Luc. That's all right, then. 

Nan. Oh, girls, isn't this dreadful ? 

Phyl. Whatever made Beryl say that she cashed that 
check? Why, she hasn't been outside this house since she 
received it. 

Nan. She didn't even know where it was a little while ago. 
She didn't say that she cashed it. 

Mir. That's right. She merely didn't deny that she 
cashed it. 

Vir. She is shielding some one, but who in the world is it 
and why ? 

Luc. Give it up ! 

(Dai, starts to e?iter, l., sees the girls, gives a little cry, 
exits.) 

Nan. {starting for door). Daisy! Get her, girls ! Quick! 

{They all exeunt, L. and return with Dai.) 

Dai. Oh, girls, let me go ! If Mrs. Sherwood should see 
me ! 

Phyl. What are you doing over here ? 

Dai. I — I came to see Beryl. 

Nan. What for ? 

Dai. WHiy, Miss Harraden ! 

Nan. Oh, I'm not polite, I know, but Beryl is in trouble 
and I believe you are to blame. 

Dai. Why, I can't be. What is the matter with Beryl? 



34 



BEHIND THE SCENES 



All I have done is fool away my time and flunk every examina- 
tion. I found a letter on the hall table which was probably 
left here by mistake. It is a warning if 1 can't make up within 
a month I will be sent home. 

ViK. Well, that couldn't be the trouble. Does Beryl un- 
derstand about it ? 

Dai. No. She knows something is the matter, but I didn't 
have time to tell her what it was. 

Nan. Could she possibly think you were in trouble about 
money ? 

Dai. {thoughtfully). Why, she might. 1 told her I needed 
some and I wouldn't tell her what it was for. 

All. That's it ! 

Nan. Daisy, you must tell her. She thinks you have en- 
dorsed a check which was given her for Student's Aid, and 
cashed it at Rathskill's. She has taken all the blame. 

Dai. Oh, where is she ? How could she think I would do 
a thing like that? Why, I just wanted money for a poor girl 
in our class who is sick, and we girls wanted to raise some 
money for her without telling who she was. 

Luc. Come and tell Ber ! The sooner the better ! 

All {Jmrrying to door). Yes, do ! 

(Mir. picks up piece of paper ivhich Miss D. dropped.) 
Mir. What's this? {Reading as she exits.) 10-14-4-17-3! 
Enter Miss D. ^z/^^Barb., l. 

Miss D. Well, things are certainly in a nice mess. I must 
have bungled horribly. Nothing is turning out as it should 
at all. 

Barb. I don't seem to understand. You say Beryl didn't 
have anything to do with cashing the check ? 

Miss D. {impatiently., ivalking up and down the rooni). Of 
course she didn't ! And what in heaven's name does she mean 
by acting like an oyster and letting every one think she is 
guilty ? 

Barb, {soothingly). As far as that goes I don't believe 
many of the girls believe she is guilty. 

Miss D. Then why don't they go to work and prove that 
she isn't ? They would do it quick enough if they knew what 
it meant to them. 

Barb. Well, I must say. Miss Darley, this is the most ex- 
traordinary thing ! 



fiEMiND THE SCENES 35 

Miss D. You will say extraordinary by the time you have 
heard all the directions left me by my uncle. I wish I had 
been a thousand miles away before I had mixed in this affair. 
I wasn't the one to undertake it. I'll lose my mind before I 
get through. Miss Gray, go and stir the girls up to the idea 
that Miss Kennison isn't guilty. I'll end all this ridiculous 
performance to-night, or 1 will give the whole thing up. I 
won't go on with it any longer ! 

Bai^b. All right. 1 will see what I can do. \_ExU, r. 

(Miss D. walks about the room stopping by the walls and 
looking them over and occasionally repeating the numbers 
— IO-14-4-IY-J. AiE. enters, L., a?id suddenly discovers 
Miss D. ; drops down behind a chair. Miss D. finally 
exits. Mir. enters^ k., with slip of paper in her ha?id. 
AiE. comes foriaard.) 

AiE. Miss Simpson, have you seen Daisy Kennison ? 

Mir. For goodness' sake, Miss Aldrich, are you here, too? 
Are you freshmen crazy ? 

Dai. Not half as crazy as some of the faculty. Miss Darley 
is perfectly dippy. She has been wandering around all the 
evening hunting for something and saying numbers to herself. 

MiR. Numbers? Were they 1 0-14- 4- 17-3 ? 

AiE. Yes. Did you see her ? 

Mir. No, but I found this. It must be hers. 

AiE. (taking paper). What is it ? Numbers and a quota- 
tion ! (Reads.) 

'' Sing him the mystical Song of the Hern 
And the secret that baffles our utmost seeking, 
For only a sound of lament we discern 
And cannot interpret the words you are speaking." 

For goodness' sake what does it mean ? 

Mir. I haven't the faintest idea. You say Miss Darley was 
hunting for something? 

AiE. Yes. Even feeling of the walls. 

Mir. (suddenly). My goodness ! (Takes the paper again.) 
*' Secret that baffles our utmost seeking — cannot interpret — in- 
terpret " 1 believe I know ! Tiie numbers are a cipher to 

be used in connection with the quotation. She is hunting for 
something with this as a guide. 

AiE. (astonished). Why, I don't understand. 



36 BEHIND THE SCENES 

Mir. {sitting down by table). Now — 10 — the tenth word. 

AiE. {excited^ sitti7ig down by JN^ir.). Oh, I see. The. 

Mir. 14 

AiE. Our ! The our — that isn't sense. 

Mir. No, it must be the letters. io-E-i4-t-4-h-i7-a-3-n. 

AiE„ {very much excited). Ethan ! 

Mir. 17-A-18-I-18 again— l-io-e-3-n — Allen ! 16-C-18 1- 
56-u-58-b. - 

AiE. Ethan Allen Club ! That's why she is hunting here. 
What does this all mean ? 

Mir. I can't imagine. What can she be hunting for ? It 
must tell here. " Mystical Song of the Hern." 

AiE. What on earth is a hern ? 

Mir. a bird. There's one in the picture over the mantel. 
Why, that must be it ! Oh, I believe 1 know. I bet there is 
a cupboard back of that picture ! 

AiE. Yes, there is, Iknow. 

Mir. {astonished). You do ? 

Enter RosiE, L. 
RosiE. Miss Darley ! Miss Darley ! Where is Miss Darley ? 
Enter girls and Barb., r. 

Ber. Well, it's great to know that Daisy isn't guilty, and 
it's great to have you girls know that I'm not guilty, but lis- 
ten, girls, that check must have been stolen from the desk this 
afternoon. Not only has it been stolen but my name was 
forged and — 7— 

RosiE. Beryl, some one was here this afternoon when I was 
waiting for you. Don't you remember? 1 told you they 
wouldn't answer me. 

Enter Miss D., i.., followed by Mrs. S., unnoticed by the girls. 

Ber. Yes, 1 do remember. I had forgotten. 

RosiE. Gracious ! I know who it was, Beryl ! I have just 
thought ! It was Miss Darley ! I thought I knew her step. 

Ber. {aghast). Rosie ! 

Miss D. {stepping f Of ward). That is true. Miss Kennison. 
I stole your check. {The girls turn in astonisJunent.) You 
young ladies imagined that I came here as an instructor, but I 
did not. I came here to carry out the last wishes of my uncle. 
Y^ou all knew him and his eccentric ways. He left a peculiar 



BEHIND THE SCENES 37 

will, a copy of which I hold. The original, I believe, is hid- 
den in this house. 

All. What ? Really ? 

Mrs. S. What makes you think that? 

Miss D. A quotation which 1 found in his notes on the his- 
tory of this house — " Sing him the Mystical Song of the Hern." 
I have traced the will to this house, but 1 must admit that I 
don't know where to look next. 

Mir. {pointing to picture over the mantel^. Try that cup- 
board, Miss Darley, 

All {excited). Cupboard, Miranda? 

Miss D. (^walking toward mantel). What do you mean. 
Miss Simpson ? 

Mir. 1 found your cipher. It reads "Ethan Allen Club." 
I think the hern in the picture there conceals a spring to open 
the door. 

Miss D. {quickly pushing a chair toward the mantel, stands 
071 it and opens the cupboard door). Yes, it does, but there is 
nothing here. 

AiE. No, because I took it out. {Hands her the papers.) 

Miss D. {taking the papers). What? You have the will ? 
You discovered the cupboard ? 

AiE. No, Rosie discovered it. 

RosiE {astonished). Why, no, I didn't ! 

AiE. Yes, you did, dear. You touched a spring some- 
where in the wall that opened the door. Daisy and I saw you 
do it, {Siuings the door open.) 

All {rushing to the mantel). Oh ! Look ! The secret 
passage ! 

Mrs. S. Wait, girls ! Let Miss Darley finish ! 

Miss D. By the terms of this extraordinary will a thousand 
dollars is bequeathed to the one who discovered its hiding 
place. 

All. Oh, Rosie ! 

Mrs. S. Quiet, girls ! 

Miss D. It was part of my uncle's plan that 1 should choose 
the most popular senior, place in a position where it would ap- 
pear as if she were guilty of something if not criminal, as near 
as I could get to it. To the one who discovered that I and 
not Miss Kennison was the guilty one, is bequeathed another 
thousand dollars. 

All {rushing to Rosie). Oh, dearest, think ! Two thou^ 
sand dollars ! All your own ! 



38 BEHIND THE SCENES 

RosiE {breathlessly). But I Jiaven't done anything ! It 
just happened ! 

Miss D. And now for the last. To ycu, Miss Simpson, are 
all the honors. By reading that cipher and interpreting its 
meaning you have won for your class $40,000 to be used for 
Sherwood in any way they may decide. 

All. Oh, Miranda ! 

ViR. And to think you are not a member of our class ! 

Ber. Never mind the class ! It's all for the school ! 

Nan, That's right ! Oh, Miranda, just think what you 
have done for Sherwood ! 

Mir. I can't believe it's true ! 

Miss D. I don't know that things have turned out just as 
my uncle planned but I think they have come in a way which 
would give him entire satisfaction. And now 1 have only one 
thing to ask. Miss Kennison, will you forgive me? 

Ber. How can you ask such a question ? I am sure we all 
have cause to remember you as long as we live, and I know 
that after this we shall all be better friends. 

RosiE. Oh, Miss Darley, I forgot to tell you. I have been 
trying to find you for ever so long. Dr. Eldridge is down in 
the little reception-room. He is waiting for you, and he has 
been there an awfully long time. When I gave him your mes- 
sage he wouldn't go in to the pageant at all. He said to tell 
you he couldn't come behind the scenes, so he would wait for 
you there. 

Miss D. {^suddenly squeezing Rosie). Oh, Rosie ! I'm so 
happy ! 

{Runs out, L. The girls stare after her in astofiishment.) 

Phyl. Well, did you ever? 

Mrs. S. Well, I think I should like to see the rest of the 
pageant. 

Barb. Do you realize, girls, that the curtain has gone up on 
the second scene ? 

Ber. Oh, what do we care about the pageant when it's so 
much more fun — '' Behind the Scenes 1 " 



CURTAIN 



THE ELOPEMENT OF ELLEN 

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Price, 2j cents 



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CHARACTERS 
Wee-no-nah1 Owl's Head "I 



Ta-lu-tah \ fire builders. Grey Wing I council men of 

MiNNEWAWA ] Running Fox | the tribe. 

Crooked Horn, an old Indian. Broken Beak J 

Withered Elm, squaw of Bitter Root, medicine man of 

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MiNEOLA, their granddaughter. Fleet Foot ] runners fof 

Brown Deer, a jj/6'«;z^<5'raz/<?. Stepping Stone j the tribe. 

White Eagle, th^ chief of the Spotted Elk ") 

tribe. Black Crow I executioners. 

Big Snake ) 

Squaws Braves Indian children. 

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MONSIEUR BEAUCAIRE 

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M. Beaucaire. Francois. 

Duke of Winterset. Victor. 

Mr. Molyneux. Servant to Beau Nash. 

Harry Rackell. Lady Mary Carlysle. 

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Beau Nash. Lady Clarise. 

Lord Townbrake. Lady Rellerton. 

Mr. Bantison. Lady Baring-Gould. 

Sir Hugh Guilford. Estelle. 

Henri de Beaujolais. Marie. 
Marquis de Mirepoix. 
Servants to Beaucaire, Marquis, Winterset and Lady Malbourne, 

KATY DID 

A Comedy in Two Acts 
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Four males, eight females. Costumes, modern and Colonial ; scenery, 
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RED CAP 

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By Mary Wi^lard Keyes 
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either boys or girls. Scenery natural ; if produced indoors, easily ar- 
ranged or largely dispensed with. Costumes, simple. Plays an hour and 
a quarter. A very pretty play for children, not at all difficult, wholly 
suited for performance by Girl Scouts or by summer camping parties. Its 
very graceful and interesting story inculcates a love of outdoor life and 
consideration for animals and flowers, but it is never didactic in effect and 
is always thoroughly entertaining. Alicia and Nancy, rambling upon the 
mountain on Midsummer Day, are given a glimpse of Fairyland and its 
secrets and take away from their experience some very valuable lessons. 
A small royalty of ^5.00 is asked for its performance. 
Price, 2^ cents 

CHARACTERS 

Alicia, a girl of fourteen. Dryad of the Beech. 

Nancy, about the same age. Dryad of the White Birch. 

Father Mountain. Dryad of the Pine. 

Lycinthia, a water nymph, Mirabel \ -a f • • 

Farael, guardia}i of the birds. Briar Rose | J^owerjaines. 

Dorian, guardian of the tittle Fire Sprite. 

wild beasts. Breeze. 



Fungus Dod 
Fungus Tod 



elves. 



DOUBLE-CROSSED 

A Comedy in One Act 
By Charles C Mather 
Three males, three females. Costumes, modern; scene, an interior. 
Plays thirty minutes. Mel Treman cannot decide which of two girls he 
wants to marry, and proposing to both in turn, is surprised to be rejected 
by both. Before he recovers from the shock, number one telephones that 
she has changed her mind, and the next mail brings word from the other 
that she too will be his. How he gets out of it is the story of a very 
funny play. Highly recommended. 

Price, /J ce}7ts 



DISPATCHES FROM WASHINGTON 

A Play in One Act 

By Charles C. Mather 

Three males, five females. Costumes of the Revolution ; scene-, an 

easy exterior. Plays twenty minutes. Jonathan Fisher, the bearer of 

dispatches for General Washington, faces capture by the British but is 

rescued by a clever ruse by five patriotic girls. Can be recommended. 

Price, /J cents 



MASTER PIERRE PATELIN 

A Farce in Three Acts 

Englished from an Early (1464) French Play 

By Dr. Richard T, Holbrook 

Of Bryn Maivr College 

CHARACTERS 

Pierre Patelin, a lawyer. 

GUILLEMETTE, Ms Wife. 

GuiLLAUME Joceaulme, a draper. 
TiBALT Lambkin, a shepherd. 
The Judge. 

Four males, one female. Costumes of the period, amply suggested by 
reproductions of contemporary cuts; scenery, very simple and fully ex- 
plained. Plays an hour and a half. A popular edition of this well-known 
French farce for schools. Its literary and historical interest very great, 
it is perfectly actable and absolutely modern in its dramatic appeal to an 
audience, and uproariously funny in its effect if presented with even slight 
skill. Altogether an ideal offering for schools and colleges. Professor 
Holbrook's version, here offered, has been acted with distinguished suc- 
cess at Bryn Mawr College and at The Little Theatre in Philadelphia, 
and a version adapted from the Holbrook text by Professor George P. 
Baker was successfully given at his " Workshop 47 " in Cambridge. 
Strongly recommended. Free of royalty for amateur performance. 
Price ^ 50 cents 

JOLLY PLAYS FOR HOLIDAYS 

A Collection of Christmas Plays for Children 
By Carolyn Wells 

COMPRISING 
The Day Before Christmas. Nine males, eight females. 
A Substitute for Santa Claus. Five males, two females. 
Is Santa Claus a Fraud ? Seventeen males, nine females and chorus. 
The Greatest Day of the Year. Seven males, nineteen females. 
Christmas Gifts of all Nations. Three males, three females and chorus. 
The Greatest Gift. Ten males, eleven females. 

The plays composing this collection are reprinted from " The Ladies' 
Home Journal " of Philadelphia and other popular magazines in answer 
to a persistent demand for them for acting purposes. Miss Wells' work 
requires no introduction to a public already familiar with her wit, her hu- 
mor and her graceful and abundant fancy, all of which attractive qualities 
are amply exemplified in the above collection. These plays are intended 
to be acted by young people at the Christmas season, and give ample sug- 
gestions for costuming, decoration and other details of stage production. 
These demands are sufficiently elastic in character, however, to make it 
possible to shorten and simplify the performance to accommodate almost 
any stage or circumstances. The music called for is of the simplest and 
most popular sort, such as is to be found in every household and memory, 
This collection can be strongly recommended. 

/^^-fV^, cloth, post-paid by mail, 6p cents net 



MUCH ADO ABOUT BETTY 

A Comedy in Three Acts 
By Walter iBen Hare 
Ten male, twelve female characters, or seven males and seven females 
by doubling. Costumes, modern ; scenery, two easy interiors. Plays a 
full evening. Betty, a moving picture star, going south on a vacation, 
loses her memory from the shock of a railway accident, and is identihed 
as a rival, Violet Ostrich, from a hand-bag that she carries. In this char- 
acter she encounters the real Violet, who has just eloped with Ned O'Hare, 
and mixes things up sadly both for herself and the young couple. An 
exceptionally bright, clever and effective play that can be highly recom- 
mended. Good Negro, Irish and eccentric comedy parts. 
Price, 25 cents 

CHARACTERS 

Lin Leonard, BeW^'s o?ie ftgsi 6e/. Ethel Kohler, a high-school admirer 

Major Jartree, of Wichita, not only of Betty. 

bent, but crooked. Violet Ostrich, a film favorite, Ned's 

Ned O' Hare, a jolly young honeymooner. bride. 

Mr. E. Z. Ostrich, to/io has written a Mrs. K. m. DiGGmS; 2 guest at the Hotel 

wonderful picture-play. JPoinsettia. 

Dr. Mcl^UTT, solid ivory fromtheneck lip. Daffodil Diggins, her daughter, "Yes, 

Jim Wiles, a high-school senior. Mamma .'" 

Archie, a black bell-boy at the Hotel Miss Chizzle, one of the North Georgia 

Poinsettia. Chizzles. 

Officer Riley, tt;/iO always does hisduty. Pearlie Brown, Violet's maid, a widoto 

Officer Dugan,/?-owi the Emerald Isle. of ebon hue. 

Mr. Ebenezer O'Hare, o sicA;wirtntmcJ Violet, Violet Ostrich's little girl aged 

a submerged tentli. seren. 

Mrs. Ebenezer O'Hare, *^ Birdie," the DiAMoy;B,Pearlie's little girl aged sic 

other nlne-tenttis. and 

Aunt \Vinn*e, Betty's chaperone. Betty, the star of t/ie 3[ovagruph Co. 
Lizzie MonaHan, i?e«2/'s maid,ivith a 

vivid imagination. 

Jartree may double Dugan ; Ned may double Riley ; Jim may double Archie ; 
Mrs. O'Hare may donbie Eibel ; Aunt Winnie may double Pearlie and Lizzie 
inay double Miss Chizzle, thus reducing the cast to seven males and seven fe- 
males. The two children have no lines to speak. 

SYNOPSIS 

Act I. Betty's apartments near New York. Married in haste. 
Act ir. Parlor D of the Hotel Poinsettia, Palm Beech, Fla. Three days later. 
Betty loses her memory. 
Act IIL Same scene as Act II. A full honeymoon. 

JUST A LITTLE MISTAKE 

A Comedy in One Act 
J5j/ Elizabeth Gale 
One male, five female characters, or can be played by all girls. Cos- 
tumes, modern; scenery, an easy interior. Plays forty minutes. Mrs. 
Ball receives a cablegram from her sister Lucy stating that Jerry 
will arrive that day and begging her to be cordial. Mrs. Ball then goes 
out to hire a cook, leaving three young friends to receive the unknown 
guest. The cook, sent down from the agency in haste, is greeted and 
entertained as Jerry and when the real Jerry (Miss Geraldine Take) ar- 
rives she is sent out to the kitchen. After considerable confusion and ex- 
citement she is discovered to be the " Little Miss Take." Strongly rec- 
ommended, Price, 2^ cents 



THE HEIRESS HUNTERS 

A Comedy in Three Acts 

By Walter Ben Hare 

Seven males, seven females. Costumes, modern ; scenery, two interiors 
and an exterior. Plays two hours and twenty minutes. Upon the dark 
days of Tom, Dick and Harry, author, artist and musician respectively, 
starving in a New York garret under the dominion of the Widow Wood, 
dawns the radiant vision of Amethyst Lake, heiress and belle of Kokomo, 
and a lively competition for her affections at once ensues, greatly compli- 
cated by divers previous attachments to La Lolita, the Widow and other 
energetic ladies. Two hours of highly amusing excitement ; all the parts 
good; very funny. Professional stage-rights reserved. Well recommended. 
Price, 2^ cents 

CHARACTERS 

Tom Timmons, author | The 

Dick. Chetwynd [Lord Richard Cheiwynd), artist I Heiress 

Harry Clive, musician ) Hunters, 

Major Morann, Tom s uncle aiid Amethysf s guardian. 

Whimper, the only butler in Kokomo. • 

Amethyst Lake, the heiress. 

Nell Gray, a true A7nerican girl. 

La Lolita, a model young lady from Spain. 

Mrs. Ballou, Aniethysf s aunt, with social aspirations. 

The Widow Wood, who could blame her? 

John Patrick Wood, aged fourteen. 

Pandora Wood, aged thirteen. 

RosELLA Wood, aged six \ .. . , , 

BijAH Wood, a mere splinter \ ^^ ^^^^'^ ^^ •^^^'^'^• 

SYNOPSIS 

Act L — The Castle of the Three Musketeers. Off for Kokomo. 

Act IL — The lawn at Lakemont, Kokomo, Indiana. The 
Widow Wood. 

Act in. — Evening party at Lakemont. Cupid shoots right and 
left. 



THE GREAT CHICKEN CASE 

A Mock Trial 

By Allan Burns 

Eight males, four females and jury. Costumes, modern ; scenery, un- 
important. Plays one hour and forty-five minutes. Henry Henpeck is 
charged with the larceny of one chicken intended for the consumption of 
the Ladies' Aid Society of Pumpkin Corners. Very funny and full of 
local hits, adapted to any locality. Two songs introduced, if desired. A 
strong addition to the too small list of such entertainments. 
Price^ 2J cents 



THE FIRST LADY OF THE LAND 

A Play in Four Acts 

By Charles Frederic Nirdlitiger 
Eleven male, eight female characters, and supers. Costumes, early 
American. Scenery, three interiors. Plays a full evening. This charm- 
ing comedy, well remembered for the delightful performance of its leading 
part by Elsie Ferguson, is peculiarly well suited for school performance 
since its witty lines and lively incidents relate a story of American history 
and involve the personalities of Aaron Burr, James Madison, Alexander 
Hamilton and the charming Dolly Madison. For this reason and for its 
dramatic interest and rvalue it is strongly recommended. Amateurs may 
produce it on payment of a royalty of ^25.00. 
Price, 50 cefits 

CHARACTERS 

James Madison, Congressman from Virginia; afterwards Secretary of Slate in 

Thomas Jefferson's cabinet. 
Aabon Burr, Senator from New York ; afterwards Vice-President of the 

United States. 
BoHLEN PiNCKNEY, the President's Secretary. 
Sir Anthony Merry, British Minister at Washington. 
Don Carlos Martinez, Marquis D'Yrujo, Spanish Minister at Washr 

ington. 
Mynheer Van Berckel, Minister from the Netherlands. 
Liouis And:%e Pichon, Charge d' Affaires for France, 
Jennings, servant at Dolly Todd's; later at Madison's. 
De Vaux, Major-Domo at White House. 
The Cook. 
The Hair-dresser. 

Dolly Todd, afterwards Mrs. James Madison. 
Sally McKean, afterwards Marchioness D' Yrujo. 
Mrs. Sparkle. 

Sophia Sparkle, her daughter ; afterwards Madame Pichon. 
Lady Merry. 

The Honorable Ena Ferrar, Lady Merry's sister. 
Vrou Van Berckel. 
Minister From Russia and ) 

Countess Dashkoff V Silent figures an Act III. 

Minister From Turkey ) 
Clotilde. maid at Dolly Todd's. 
Footmen, Valets, Servants, Etc. 

THE ARRIVAL OF KITTY 

A Farce in Three Acts 

By Norman Lee Swartout 
Five male, four female characters. Costumes, modern ; scenery, one 
interior. Plays a full evening, A piece in the " Charley's Aunt " class. 
Bobbie Baxter, pursuing his little love-affair with Jane agamst the opposi- 
tion of her uncle, William Winkler, has occasion to disguise himself in 
female costume, and is taken for Kitty, an acti-ess and close friend of 
Winkler, to the vast confusion of everything and everybody. Very funny 
and strongly recommended. Has been played professionally over two 
thousand times and may be produced by amateurs for a royalty of ^lO.oo. 
Price, ^o cents 

CHARACTERS 
William Winkler. Ting, a bell-boy. 

Aunt Jane, his sister. Sam, a colored porter. 

Jane, his tiiece. Kitty, an actress. 

Bobbie Baxter. . Suzette, Aunt Jane' s maid. 

Benjamin More. 



LET'S GET MARRIED 

A Farce- Comedy in Three Acts 

By Lewis Beach 
Three males, five females. Costumes, modern ; scenery, a single in^ 
terior. Plays two hours. A party of young people spending a week-end 
at the home of one of their number are suddenly seized by an epidemic of 
matrimonium tremens and wildly extemporize three elojiements behind 
the respectable back of their hostess. The complications that surround 
and finally defeat these projects are most amusing. Funny and full of life 
without the least touch of " mushiness." Originally produced by The 
iiarvard Dramatic Club, in December, 19 13, and strongly recommended 
Royalty for amateur performance, ^20.00 for the first and ^5.00 for sub- 
sequent performances. 

Price, 50 cents 

CHARACTERS 

Gerald Stewart. Elizabeth Stewart. 

Cyril Edwards. Angeline Burwood. 

Jack Ring. Mrs. William Stewart. 

Phyllis Goddard. Mary. 

The action occurs in the living-room of the Stewarts' house in 
the late afternoon and evening of a day in November. 



SIX MILES FROM A LEMON 

A Farce in Three Acts 
By Sidney Drum 
Six male, four female characters. Costumes, modern ; scenery, three 
interiors. Plays a full evening. Curtis Woodward comes back to his 
native village to pass a week in the house where he was born and is in- 
terviewed by Keziah Kimander, the enterprising local correspondent of 
the city papers, and when he has been cut off from all communication 
with his business in the city by a snow-storm, discovers that her published 
misunderstanding of his words threatens him with financial ruin. His 
.struggle to make good this blunder is the story of the play. High class 
farce. Royalty for amateur performance, ^lO.oo. 
Price, j'o cents 

CHARACTERS 

Curtis Woodward. Seth Kimander. 

Peter Woodward. Mrs. Curtis Woodward. 

Lord Bunn. Ruth Woodward. 

O. B. Jackson. Fredericka Pomeroy. 

Lucius Peck. Keziah Kimander. 

SYNOPSIS 

Act L — The Woodward Homestead, Tuesday morning. 
Act n. — Lucius Peck's Grocery-store, Wednesday morning. 
Act \\\. — The Eagle Tavern, Wednesday afternoon. 



HIS FATHER'S SON 

A Comedy in Three Acts 

By Gladys Rutif Bridgham 
Fourteen males. Costumes, modern ; scenery, two interiors. Plays an 
hour and three-quarters. Free of royalty. Douglas Doyle, a pupil at 
Maplehurst School, discovers that he is being supported in luxury by the 
hard work and self-sacrifice of his father, who has not let him know that 
he has lost all his fortune. He leaves school at once, though by doing so 
he falls under suspicion of theft. This news reaches his father before he 
does and leads to a misunderstand"ing ; but Douglas gets a trial assign- 
ment on his father's paper, makes a big " scoop," and is finally set right 
in all ways. Very sympathetic and effective. Strongly recommended. 
Frice^ 2j cents 

CHARACTERS 
Nathan Doyle, reporter oji the ** Boston Daily News,** 
Douglas Doyle, his son ; junior at Maplehurst. 
Hiram McBinney. 
Jerry McBinney, his son. 
Lancello Griffith, reporter on the "News,"* 
Jim O'Calahan, city editor of the "News,'* 
Timothy Glenn, o^ce boy. 
Philip Crane, head master of Maplehurst, 
Harrison Fiske, his assistant. 
Harry Atkins 



John Hartwell 
Horace Russell 
Raymond Sears 
Ordway Mitchell 



Jimiors at Maplehurst, 



Plays Otie Hour and Three- Quarters 

SYNOPSIS 

Act I.— Douglas Doyle and John Hartwell's room— Maple 
hurst Preparatory School, about fifty miles from Boston. 

Act II.— Nathan Doyle's room in a Roxbury lodging-hoase , 
evening of the same day. 

Act III. — The same a week later. 

Time. — November of any year. 



SCHMERECASE IN SCHOOL 

A Character Entertainment in Two Scenes 

By George P. Seller 

Nine males. Costumes, modern and eccentric ; scenery, unimportaTit. 

Plays about an hour. No royalty. A burlesque school entertainment, 

introducing songs and specialties. Equally suited for boys and men. 

Ends with a minstrel circle, and may be used for an introduction to such 

an entertainment. A capital burlesque, strongly recommended. 

Price, IS cetits 



J1. (U. Pinero's Plays 

Price, SO K€ it^ €acb 

MTn PHANNFl I*lay in Four Acts. Six males, five females. 
*"**-''V'll.finiil-iLi Costumes, modern; scenery, three interiors. 

Plays two alid. a half hours. 

THE NOTORIOUS MRS. EBBSMITH ^,^r''i^,Tt 

males, five females. Costumes, modern; scenery, all interiors. 
Plays a full evening. 

THF PROFIir'ATF P^^y^^^ Four Acts. Seven males, five 
» lEi r IVV/r L<ivI/\ 1 E* females. Scenery, three interiors, rather 
elaborate; costumes, modern. Plays a full evening. 

THF QPHnni MIQTRFQQ Farce in Three Acts. Ninemales, 
IO£i iJV^n\J\7LilTlliJlI\.£iOkJ seven females. Costumes, mod- 
ern; scenery, three interiors. Plays a full evening. 

THE SECOND MRS. TANQUERAY Igrl7/s,^?v^e 

females. Costumes, modern; scenery, three interiors. Plays a 
full evening. 

ClirpCT I AVFlSiriFR Comedyin Three Acts. Seven males, 
OWEiEil Li/\V£iliIy£iIV four females. Scene, a single interior, 
costumes, modern. Plays a full evening. 

THF THTTNnFRROT T Comedy in Four Acts. Ten males, 
1 rlEi 1 nU 1 1 L/ILIvDv/Li 1 nine females. Scenery, three interi- 
ors; costumes, modern. Plays a full evening. 

THF TIMF^ Comedy in Four Acts. Six males, seven females. 
llil-i 1 llUEiO Scene. a single interior ; costumes, modern. Plays 
a full evening. 

THF WFAVFR QFY Comedyin Three Acts. Eight males, 
inili Yt EiAlvI-iIV, iJEiA eight females. Costumes, modern J 

scenery, two interiors. Plays a full evening. 

A WIFE WITHOUT A SMILE 'i^^ltliiS/onruJS^: 

Costumes, modern ; scene, a single interior. Plays a full evening. 



Sent prepaid on receipt of price by 

Walttv ^. pafeer $c Companp 

Noo 5 Hamilton Place, Boston, Massachusetts 

-'^^ — '^ — 



LIBRARY OF CONGRESS 



018 603 675 ft ' m 



C|)e 5^illiam Wm 
of ^laps 



AS YOU I ll^F IT Comedy in Five Acts. Thirteen males, four 
/1L> ivu Ltia.Li li females. Costumes, picturesque ; scenery, va- 
ried. Plays a full evening. 

CAMII I F I^i'^'^^ i^ Five Acts. Nine males, five females. Cos- 
Viliflll^L/l^ tumes, modern ; scenery, varied. Plays a full evening. 

INfiOMAI? -^^^y '" ^^^^ Acts. Thirteen males, three females. 
lilUVlilAlv Scenery varied ; costumes, Greek. Plays a full evening. 

IWARY STUART Tragedy in Five Acts. Thirteen males, four fe- 
iTiAiyl. kj iu>ini males, and supernumeraries. Costumes, of the 
period ; scenery, varied and elaborate. Plays a full evening. 

THE MERCHANT OF VENICE £iTel?f.i?afCif:i: IS-Zi^f. 

picturesque ; scenery varied. Plays a full evening. 

RICH FT IFII -^^^y ^^ -^^"^® '^^^^' ^fteen males, two females. Scen- 
iXlVlllvL^lLrU ery elaborate ; costumes of the period. Plays a full 
evening. 

THF RIVAI S Comedy in Five Acts. Nine males, five females. 
1 Illy III T ALtJ Scenery varied ; costumes of the period. Plays a 
full evening. 

SHE STOOPS TO CONQUER £21^;? ffin'a^lef IVen^l'y'r 

ried ; costumes of the period. Plays a full evening. 

TWELFTH NIGHT; OR, WHAT YOU WILL '^.T^^l'LlL: 

three females. Costumes, picturesque ; scenery, varied. Plays a 
full evening. 



Sent prepaid on receipt of price by 

IS^alter 1$. TBafeer & Compani? 

No. 5 Hamilton Place, Boston, Massachusetts 

■ 

a. J. PARKHILL a CO., PRINTUIS. BOSTON. U.S.A. 



